From the Dionysian Monk to the Apollonian Saint – Archiving 1993 to 2002
Archiving my drawings from 1993 to 2002 provided an opportunity to review how my work developed in that period and to reflect on similarities and differences with my more recent work.
My first drawings at the Epicentre in 1993 were larger scale tonal drawings of a monk’s face. A yellow turps wash underneath the charcoal attempts to describe the three main ellipses of brow, cheek and jaw. The shapes are simplified and quite crude, however the scale of the drawing, the geometric triangular shapes and tonal contrast make for an interesting overall abstract design with some impact.
The next work ‘Birdman’ was most likely drawn in the following year. Still struggling with depicting the complexities of the human head, the drawing is patched where I had worn the paper through with reworking. Evidently I chose to leave the head unfinished at the time; a decision I don’t regret!
The final drawing depicting a saint after Raphael was drawn in 2002 and is a cleaner, more subtle interpretation of form. At the time, keeping the paper clean with large areas of whites flowing through the form was a high priority and this drawing achieves that.
As I was archiving, it was with some surprise I noted that my current preoccupation with drawing figures in states of spiritual exaltation, expansion and contraction dated back over 20 years. On another level, the gradual refinement of my drawing skills and style between 1993 to 2002 gave me reason to reflect on the quality of creative energy driving my practice over those years beginning with the Dionysian Monk and ending with the Apollonian Saint.
Dead People I’ve Had Crushes On
Drawings from the list of dead people I’ve had crushes on since the age of 10. (An exercise in drawing small.)
Moreton Bay Region Art Awards
Excited to have my piece, The Bridge, accepted as a finalist in the 2017 Moreton Bay Region Art Awards.
The exhibition runs from 20 May to 28 May with the official launch from 6.30pm 19 May 2017 at Strathpine Community Centre – 199 Gympie Road, Strathpine (entry and free parking via Mecklem Street).
Medium: Charcoal and chalk pastel on paper
Dimensions: 780 x 1100 x 50 mm
The outstretched arms of the child in the foreground, the energetic marks describing her form and her absorbed facial expression set her apart from the other figures. Her pose suggests she herself is a bridge, a transmitter of energy/spirit. This echoes the artist’s view of drawing itself as a means of accessing information outside of ordinary consciousness.